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Bebop Spoken There

Sullivan Fortner: ''I always judge it by the bass player: If the bass player is happy, it's going to be a good night". (DownBeat, February 2025).

The Things They Say!

This is a good opportunity to say thanks to BSH for their support of the jazz scene in the North East (and beyond) - it's no exaggeration to say that if it wasn't for them many, many fine musicians, bands and projects across a huge cross section of jazz wouldn't be getting reviewed at all, because we're in the "desolate"(!) North. (M & SSBB on F/book 23/12/24)

Postage

17755 (and counting) posts since we started blogging 17 years ago. 76 of them this year alone and, so far, 1 this month (Feb.1).

From This Moment On ...

February 2025

Thu 06: Vieux Carré Jazzmen @ The Holystone, Whitley Road, Holystone. 1:00pm. Free.
Thu 06: Lewis Watson Quartet @ King’s Hall, Newcastle University. 1:15pm. Free.
Thu 06: Jazz Appreciation North East @ Brunswick Methodist Church, Newcastle NE1 7BJ. 2:00pm. £4.00. Subject: Latin jazz/top-rated dance bands.
Thu 06: Rose Room @ The Globe, Newcastle. 8:00pm.
Thu 06: Mostly Moonlight @ Prohibition Bar, Newcastle. 8:00pm. Free. A ‘Jar on the Bar’ gig. Helen Barber (vocals) & Alex Moon (piano).
Thu 06: Tees Hot Club @ Dorman’s Club, Middlesbrough. Guests: Richie Emmerson (tenor sax); Donna Hewitt (alto sax); Kevin Eland (trumpet); Graham Thompson (keys); Ron Smith (bass). 8:30pm. Free. A Tees Hot Club promotion. The session is now monthly, first Thursday in the month.

Fri 07: Classic Swing @ Cullercoats Crescent Club. 1:00pm. Free.
Fri 07: Rendezvous Jazz @ The Monkseaton Arms. 1:00pm. Free.
Fri 07: New Orleans Preservation Jazz Band @ The Oxbridge Hotel, Stockton. 1:00pm. £5.00.
Fri 07: James Birkett & Emma Fisk @ Old Lowlight, Clifford’s Fort, North Shields NE30 1JE. 7:00pm. £15.00. + bf. www.oldlowlight.co.uk. SOLD OUT!
Fri 07: Stuart Turner Trio @ Billy Bootlegger’s, Ouseburn, Newcastle. 7:00pm. Free. Jazz, blues, Americana etc.
Fri 07: Dean Stockdale Quartet @ Saltburn Community Hall. 7:30pm. £12.00.
Fri 07: Rose Room @ Wylam Institute. 8:00pm. £19.67.
Fri 07: John Rowland Quartet @ Prohibition Bar, Newcastle. 8:00pm. A ‘Jar on the Bar’ gig.

Sat 08: Jason Isaacs @ St. James’ STACK, Newcastle. 12:30-2:30pm. Free. Vocalist Isaacs working with backing tapes.
Sat 08: Jason Isaacs @ Seaburn STACK, Seaburn. 3:30-5:30pm. Free. Vocalist Isaacs working with backing tapes.
Sat 08: Milne Glendinning Band @ The Vault, Darlington. 7:00pm. Free.
Sat 08: Lewis Watson Quartet @ Yamaha Music School, Blyth. 7:30pm. £15.00. at the door; £14.35. (inc £0.35 bf) online, in advance.
Sat 08: Anth Purdy @ Prohibition Bar, Newcastle. 8:00pm. A ‘Jar on the Bar’ gig. ‘Swing Jazz Guitar’.
Sat 08: NUJO Jazz Jam @ Cobalt Studios, Newcastle. 8:00pm. Free. A Newcastle University Jazz Orchestra event. All welcome.

Sun 09: Glenn Miller & Big Band Spectacular @ The Forum, Billingham. 3:00pm.
Sun 09: The New ’58 Jazz Collective @ Jackson’s Wharf, Hartlepool. 1:00pm. Free.
Sun 09: Am Jam @ The Globe, Newcastle. 2:00pm. Free.
Sun 09: 4B @ The Ticket Office, Whitley Bay. 3:00pm. Free.
Sun 09: Tom Remon & Mark Williams @ Prohibition Bar, Newcastle. 7:00pm. A ‘Jar on the Bar’ gig.
Sun 09: Rod Oughton’s Tomorrow’s New Quartet with Ben van Helder @ The Globe, Newcastle. 8:00pm. Line-up inc. Deschanel Gordon.
Sun 09: Jazz Jam @ Fabio’s, Saddler St., Durham. 8:00pm. Free. A Durham University Jazz Society promotion. All welcome.

Mon 10: Harmony Brass @ Cullercoats Crescent Club. 1:00pm. Free.

Tue 11: Steve Summers Quintet @ Newcastle House Hotel, Rothbury. 7:30pm.

Wed 12: Vieux Carré Jazzmen @ Cullercoats Crescent Club. 1:00pm. Free.
Wed 12: Jam session @ The Tannery, Gilesgate, Hexham. 7:00-9:00pm. Free.
Wed 12: Darlington Big Band @ Darlington & Simpson Rolling Mills Social Club, Darlington. 7:00pm. Free. Rehearsal session (open to the public).
Wed 12: Take it to the Bridge @ The Globe, Newcastle. 7:30pm. Free.

Reviewers wanted

Whilst BSH attempts to cover as many gigs, festivals and albums as possible, to make the site even more comprehensive we need more 'boots on the ground' to cover the albums seeking review - a large percentage of which never get heard - report on gigs or just to air your views on anything jazz related. Interested? then please get in touch. Contact details are on the blog. Look forward to hearing from you. Lance

Wednesday, October 14, 2020

The Matt Mackellar Story - so far... Part 2 of 3.

BSH: That's your recent history. What's the story of your earlier days? Why did you choose drums? Who were your tutors? 

Matt: I had always been exposed to good music thanks to my Dad. He was always interested in the more complex side of popular music, which led me to have an appreciation for the likes of everything from Steely Dan to Jamiroquai. The first instrument I actually picked up was the guitar. I had a little toy guitar and microphone that I would use to perform songs I had learned in my church when I was very young. At around the age of 5 or 6, I started to become fascinated by the drums in church. I would always go up to the kit at the end of the service and want to have a little play. 

Deon Krishnan was really the one to first encourage me and see that I had some natural rhythm at a young age. I have an enduring memory of him teaching me my first beat on the kit and it sort of being a eureka moment. From then on my curiosity about the drums just kept growing. My parents took the decision to nurture this curiosity and invest in some lessons for me. 

My first teacher was Jeff Armstrong. I started with him at the age of 6, which was a baptism of fire in terms of my attitude towards progressing on the kit and taught me a lot about how to deal with critique and turn it into a desire to improve. He was absolutely critical in giving me a really solid technical base to my playing, and I wouldn’t have progressed nearly as much without his teaching. 

I later began lessons with Dave Lourie. Dave really pushed me to the next level with my playing, giving me a great education on playing with much more style and finesse and tailoring his teaching to my interests at a given time, which helped instil a passion for the instrument in me. 

I then began lessons with Geoff Hutchinson, who really transformed my work ethic for the instrument and helped me get a true picture of what needed to be done if I wanted to make my dream to play music as a career a reality. All of my teachers have been absolutely essential in my development and I wouldn’t be where I am today without them!

BSH: What was your practice routine back then? Your neighbours must have been very understanding!

Matt: When I first set out, I hated practicing! It felt like torture to me when I was very young. With a bit of encouragement from my parents, I would make some progress and reach small milestones. This process slowly made me realise that nothing would be achieved without putting any work in. Slowly as I grew up, I started to practice more, which my teachers would see and in response give me more challenging material to work on in order to push me forward. It wasn’t until I was a teenager that I really started to enjoy practicing and start to work on not only the tasks that were given to me by my teachers but my own personal challenges. 

The final few years before I went off to college, practice became more of an obsession than a chore. I’d get home from school and just practice until curfew! Yes my neighbours were incredibly understanding. Luckily, they were close family friends and were always happy to hear me doing something that I loved doing.

BSH: You will, no doubt, recall a memorable session at the Jazz Cafe when, in addition to playing drums, you surprised many by playing guitar! Did you/do you dream of becoming a rock guitar god?! Who taught you the rudiments? 

Matt: Yeh that was a scary time… I had never played guitar publicly before that session but I was lucky to have my guitar teacher and mentor John Wilson there to support me. I’m not sure why I became interested in learning how to play guitar but I’m so glad I did. Playing a harmonic instrument really helped me develop my ear and understanding of jazz music. I was able to use this knowledge to try and inject more musicality into my drumming as I began to understand the process behind crafting a song as well as a melodic improvisation. This knowledge also really gave me a step up in learning how to compose for school and college. John was a great teacher to me and always focused on things I was interested in at that particular time; he’s also a fantastic player!

BSH: And so to Berklee. You set your sights on winning a place at the prestigious American institution. Tell us about the application process? Where did you audition - here in Britain or in the US?

(To be continued tomorrow ...)

Part One.

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